Mind

The appearance of an
'enemy' should be thought of as an opportunity to test the sincerity of one’s
mental and physical training.
O Sensei

The mind is a very complicated thing to comprehend. It
controls us while we try to think about it. How can we gain a measure of
conscious control over the mind?

(a) Co-ordination

In Aikido, we practice
everything equally on the left and right sides. While this can be very confusing
in the beginning, it leads to improved co-ordination of mind and body alike as a
literal translation of the word 'Aikido' implies, and allows one to see more
clearly what others are doing; it makes one more dextrous, and balances out
unevenness in the mind and body. Some schools emphasise one side only and in
terms of the reality of self-defence it can be a practical method, but the
inquisitive student should require more than that.

(b) Focus

Concentration is the most mysterious of powers. Who could measure it? Can its
existence be proven? Who could produce it outside of the body? In a sense, it
does not exist yet no one would deny it can be of tremendous power. Some people
have it all, others have none. What is important is that it can be developed,
and it must be, otherwise one will never be able to learn Aikido. Concentration
is necessary to learn any new skill and once one has developed it, it remains
available for use elsewhere, in education or in business. Determination is as
mysterious as concentration and is necessary for success in overcoming
obstacles. Too much may blind one to the reality of one's misdirection and too
little will go far in achieving nothing. Concentration and determination are
apparent in the frowning gaze and alert tension of the body and result in one
being in focus for the moment.

Visible concentration and focus.

(c) Zanshin

Zanshin, which translates as
'remaining mind' or is sometimes called 'concentrated concentration', is
commonly referred to as that state of mind kept when finishing a technique. For
example, in table tennis a good player plans their shot a moment ahead in time
and imagines it striking home; one can also often glimpse them focusing on the
ball for a moment even though it was 'in' and has already gone past their
opponent - just making sure, and focusing on that moment. A broader
interpretation of zanshin can be likened to driving a car, for which one
needs constant awareness. In Aikido one needs to develop these three kinds of
before, during, and after zanshin.

Maintaining focus after the technique is finished.

Usually, awareness is aroused at
the beginning of class with the initial bow. Here, concentration increases.
During practice, tori's awareness will increase when bowing to
uke. It will increase further as uke prepares to attack. At this
moment, one's concentration becomes determination. And after much practice,
one's awareness should be apparent all the time, sometimes broadly, sometimes
focused. Awareness can also be divided according to the yin / yang
principle. A yang type of awareness might be overt whereas a yin
type might remain somewhat hidden, yet present. In martial terms, awareness is a
changing mix of alert concentration and alert determination, which in composite,
signify that one is wide-awake.

(d) Calm mind

The natural adrenaline
based instinct of fight or flight is a response that might result in more
trouble than one bargained for. First, one has to overcome it. Only then can it
be utilised it to advantage. The calm mind is a controlled mind. Anger in the
mind will interfere detrimentally with the workings of the body both in terms of
health and of technique. A calm mind allows one to have a broader view into
which things fall into their natural perspective. A calm mind can sum up a
rapidly deteriorating situation in a short space of time. That same calm mind is
likely to offer a clearer solution. And if a decision is made to act, the
adrenaline may still be there, if it is needed.

(e) The inner-eye

The inner-eye, or
mind's eye, is that through which you see your self. For example, it is
particularly useful when learning new techniques. In the beginning one may get
confused with all the movement being demonstrated, not knowing where to place
one's gaze. Should I watch the hands? Should I watch the feet? Worse, one may
fall into the trap of just watching the spectacle of the demonstration after
which one will not have the slightest clue of where to start. With the mind's
eye one places the self in the teacher's shoes, and, even though one is sitting
and watching, one imagines going through the same technique as the teacher in
real time. Another use of the mind's eye is to visualise something before it
happens, and therefore respond 'in time' accordingly. Good soccer players often
visualise the ball 'going in' the moment just before they kick. In Aikido then,
using the mind's eye one learns to anticipate uke's attack and thus can
move slightly before uke arrives and take the lead.

With beginners, if
uke attacks before tori is ready, then tori will be taken by
surprise and will not react until the mind clears and good measure is taken of
the situation. This is no good. To solve this, before offering the hand to be
grabbed, tori should quickly imagine what needs to be done. If uke
rushes forwards too soon, tell them, 'No!' Going through it once, in the mind,
leads to a better result. Once ready, tori offers the hand, uke
grasps, and the technique is performed like clockwork. Perhaps not the
spontaneous aiki of one's dreams, but a beginning. The more one
practices, the shorter the thinking time becomes. A practical route to
'no-thought' for those who do not want to waste a lifetime hoping that one day,
‘It'll just happen.’

(f) Gaze

Some say watch the eyes
for intention. Depending upon intensity, looking into the eyes can instil
aggressiveness, firmness, confidence, or calmness. Looking away might convey
nonchalance, doubt, insecurity, or fear. The true spirit can be hidden and all
can be used to advantage. Others say watch the body or shoulders for clues of
movement; the hips or shoulders move a certain way before a punch. Or it maybe
that watching the body really means - avoid the eyes. The school of thought that
avoids the eyes advises; watch the point between they eyes; watch the chest;
watch a point beyond the attacker, and so on.

Table tennis is a very
fast game and common advice is to watch the ball. But while one needs to know
where the ball is, there is no need to look at it. With experience one
instinctively knows where to find the ball. When playing, one has to see
everything. The ultimate shot in table tennis is when one gauges the opponent's
intention so well that one can lead them about at will and then with a slow
nonchalant flick, send the ball to one corner just as they rush in lured
anticipation to the other. In table tennis doubles, real skill lies in being
able to make them collide into each other. One cannot do this by watching the
ball. Another analogy is driving a car. If one only looks at, and follows, the
car in front, roadsigns will be missed and a crash may result. One has to look
at nothing in particular, yet see everything. Aikido is the same. When training,
even in the midst of technique, take the time to gaze around, see who is where,
listen, hear, take note of what else is going on in the dojo, see safe
space - no one is there, no one is coming, throw uke down. Uke
needs to be aware too. Accidents in the dojo happen because people are
not aware of what is going on around them. Training in a crowded dojo can
be good practice; in time, knowing where to throw and where one is being thrown
will become automatic.

(g)
Visualisation

Already mentioned above, the good
tori can visualise what is going to happen and what he is going to do a
moment before it happens. It is also important to add an element of
change/flexibility however, as, things do not always go according to plan. So,
whatever technique you are doing, keep an alert open mind and feel for what
uke is doing. Most uke's just follow you after you take control. A
gently resisting alive uke can be your best friend however as it trains
you to respond to his movement rather than just process a technique because the
teacher told you to do it. The aim is aiki, not the waza.